| D.R.U.M. Percussion [Matériel pour classe] Alfred Publishing
Other Percussion SKU: AP.BMR08009 Discipline, Respect, and Unity Throu...(+)
Other Percussion SKU:
AP.BMR08009
Discipline, Respect,
and Unity Through
Music. Composed by
Jim Solomon.
Classroom/Pre-School;
Orff; Orff School
Orchestra. Book. 56
pages. Alfred Music
#00-BMR08009. Published
by Alfred Music
(AP.BMR08009). ISBN
9780769268385. UPC:
029156954913.
English. Kids love
drums! The sight, sound,
power, and feel are
tremendous motivators for
many students. D.R.U.M.
is an acronym for
Discipline, Respect and
Unity Through Music. The
original D.R.U.M. group
was formed at author Jim
Solomon's elementary
school in 1995 to provide
an ensemble experience
for students not involved
in any of the regular
music groups. The group
concept is designed to
stress teamwork and
self-discipline while
learning these intensive
percussion ensembles
built on music from the
United States, Brazil,
Africa, and China. Useful
for general music classes
and special groups, this
book is a terrific
learning tool with
unlimited potential! $19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Language of the Masters Percussion Sher Music Company
Transcriptions and Etudes of 10 Great Latin Percussion Artists. Composed ...(+)
Transcriptions and
Etudes of 10 Great Latin
Percussion Artists.
Composed by Michael Spiro
and Michael Coletti.
Method book
(spiral-bound) and online
audio. 127 pages.
Published by Sher Music
Company (SR.LOTM).
$26.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| World Beat Rhythms: Beyond the Drum Circle - Cuba Percussion [Partition + CD] Hal Leonard
For Drummers, Percussionists and All Musicians. By Maria Martinez and Ed Roscett...(+)
For Drummers,
Percussionists and All
Musicians. By Maria
Martinez and Ed Roscetti.
Percussion. Book and CD
Package. Size 9x12
inches. 64 pages.
Published by Hal Leonard.
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| World Beat Rhythms: Beyond the Drum Circle - Brazil Percussion [Partition + CD] Hal Leonard
For Drummers, Percussionists and All Musicians. By Maria Martinez and Ed Roscett...(+)
For Drummers,
Percussionists and All
Musicians. By Maria
Martinez and Ed Roscetti.
Percussion. Book and CD
Package. Size 9x12
inches. 72 pages.
Published by Hal Leonard.
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Larry Neeck: Concerto for Drum Set and Concert Band Orchestre d'harmonie, Percussion [Conducteur et Parties séparées] - Intermédiaire C.L. Barnhouse
By Larry Neeck. Solo. Concert Band. Spotlight. Level: Grade 3.5. Score and set o...(+)
By Larry Neeck. Solo.
Concert Band. Spotlight.
Level: Grade 3.5. Score
and set of parts.
Composed 2005. Duration
0:06:10. Published by
C.L. Barnhouse.
(1)$72.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Prelude #3 [Livre] Innovative Percussion
By Christopher Deane. Timpani Solo. For timpani solo with percussion (4 Timpani,...(+)
By Christopher Deane.
Timpani Solo. For timpani
solo with percussion (4
Timpani, Gongkagui,
Songba, Djun-Djun (or sub
Cowbell, Small Tom-tom,
Kick Drum respectively)).
Book. Published by
Innovative Percussion
$17.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Murray Spivack: A Lesson with Louie Bellson Batterie [DVD] Alfred Publishing
| | |
| Step & Stomp 2 [Partition + CD] Hal Leonard
Choral (Book and CD pak) SKU: HL.9971567 Building Character and Self E...(+)
Choral (Book and CD pak)
SKU: HL.9971567
Building Character and
Self Esteem One Step at a
Time. Composed by
John Jacobson.
ExpressiveArts.
Choreography, Classroom
Resources, Collection,
Elementary, Motivational.
Softcover with CD. 48
pages. Published by Hal
Leonard (HL.9971567).
ISBN 9781617807275.
UPC: 884088558857. 8.5x11
inches. Build
character and self-esteem
with raps and percussive
dance that will inspire
and motivate! The Master
of Moves - John Jacobson
is back with more
groovin' step and stomp
moves, designed for upper
elementary and middle
school fun! Learn about
good citizenship, and
what it takes to show
courage and respect. Show
others the importance of
fairness and taking
responsibility, and
sticking up for one
another. Be the kind of
person others can count
on, and show them you
care - all while groovin'
to the beat! The Book/CD
provides the character
raps in printed format
and hip recordings on the
enclosed CD, with and
without the rappers! For
additional visual
learning, a separate DVD
features John Jacobson
demonstrating all the
moves - sometimes all at
once! For extra value,
purchase all this great
material in one Classroom
Kit! Let's get movin' -
one step at a time!
Available separately:
Book/CD, DVD, Classroom
Kit (Book/CD & DVD).
Suggested for grades
4-8. $24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Hobbit: An Unexpected Journey, Selections from Orchestre à Cordes [Conducteur] - Facile Alfred Publishing
(I. The Adventure Begins / II. A Very Respectable Hobbit / III. Erebor). By Howa...(+)
(I. The Adventure Begins
/ II. A Very Respectable
Hobbit / III. Erebor). By
Howard Shore. Arranged by
Michael Story and Michael
Story. Orchestra. Score;
String Orchestra. Pop
Intermediate String
Orchestra. Light Concert;
Movie. Grade 2.5. 20
pages. Published by
Alfred Music Publishing
$9.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Hobbit: An Unexpected Journey, Selections from Orchestre à Cordes [Conducteur et Parties séparées] - Facile Alfred Publishing
(I. The Adventure Begins / II. A Very Respectable Hobbit / III. Erebor). By Howa...(+)
(I. The Adventure Begins
/ II. A Very Respectable
Hobbit / III. Erebor). By
Howard Shore. Arranged by
Michael Story and Michael
Story. Orchestra.
Part(s); Score; String
Orchestra. Pop
Intermediate String
Orchestra. Light Concert;
Movie. Grade 2.5. 160 pag
$61.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Gannin Arnold: 5 World Class Drummers Batterie [DVD] Alfred Publishing
(Featuring Taylor Hawkins, Jimmy Chamberlain, Simon Phillips, Terry Bozzio, and ...(+)
(Featuring Taylor
Hawkins, Jimmy
Chamberlain, Simon
Phillips, Terry Bozzio,
and Gary Novak). By
Gannin Arnold. For
Drumset.
Artist/Personality; DVD;
Method/Instruction;
Percussion - Drum DVD.
Pop; Rock. Published by
Alfred Music Publishing
$14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Stadium Hit Mix Fanfare [Partie séparée] Hal Leonard
Aux. Percussion. Easy Contemporary Marching Band. 16 pages. Published by Hal Leo...(+)
Aux. Percussion. Easy
Contemporary Marching
Band. 16 pages. Published
by Hal Leonard.
$4.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rockschool Drums Grade 4 Batterie [Partition + Accès audio] - Intermédiaire Rock School Limited (RSL)
Book/Online Audio. By Various. Percussion. Instruction, Method. Softcover Au...(+)
Book/Online Audio. By
Various.
Percussion. Instruction,
Method. Softcover Audio
Online. 64 pages.
Rockschool
#RSK200064US. Published
by
Rockschool
$26.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Magnificat Chorale SATB [Vocal Score] Carus Verlag
(The Groovy Version of OX). By Christoph Schonherr. Edited by Klaus Konrad Weige...(+)
(The Groovy Version of
OX). By Christoph
Schonherr. Edited by
Klaus Konrad Weigele. For
Solo, SATB Choir, 2
Trumpet/Flugelhorn,
Sax/Flute, 2 Violin,
Viola, Cello, Pianoforte
(Keyboard), Electric Bass
(Contrabass), Percussion.
Magnificats, Advent,
Christmas. Choral score.
Language: Latin. Composed
2004/2005. 28 pages.
Duration 40 min.
Published by Carus Verlag
$12.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Alfred's Beginning Drumset Method - Book and CD
Batterie [Partition + Accès audio] - Débutant Alfred Publishing
Book and digital audio. Artist/Personality; Method/Instruction; Percussion - Dru...(+)
Book and digital audio.
Artist/Personality;
Method/Instruction;
Percussion - Drumset
Method or Collection.
Alfred's Drumset Method.
Instructional and Play
Along. Instructional book
and digital audio. With
drum notation,
instructional text,
instructional photos and
illustrations. 48 pages.
Alfred Music #00-16926.
Published by Alfred Music
$21.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Bach to the Future - Intermédiaire Wilhelm Hansen
Score Orchestra; Percussion - Grade 4 SKU: HL.14003062 Percussion and ...(+)
Score Orchestra;
Percussion - Grade 4
SKU: HL.14003062
Percussion and
Orchestra Score.
Composed by Per Nø,
Per Norgard, rd, and
rgå. Music Sales
America. Classical. Set.
134 pages. Duration 1200
seconds. Edition Wilhelm
Hansen #KP00615.
Published by Edition
Wilhelm Hansen
(HL.14003062). ISBN
9788759870075.
12.0x16.5x0.7 inches.
Danish. Per Norgard
BACH TO THE FUTUREFor
many years I have been
specially fascinated by
three of the preludes of
Bach's Well-tempered
Piano, and I wish with
this concerto-version for
percussion-duo and
orchestra to highlight
some of the structural
aspects of these pieces:
It is my belief that
there is a tradition in
the music history, that
makes it possible to let
certain germs in an
earlier period unfold
into new, but not
heterogenious, dimensions
of a perhaps several
hundred years later phase
of the tradition.This
concerto is a result of
several years
collaboration with Uffe
Savery and Morten Friis
(Safri-Duo), as well in
original compositions -
(Resonances,
Repercussion, Resume in
EchoZone I-III) as in
arrangements of the 3
Bach preludes, preparing
for the enormous
stylistic challenges of
this work.A few
introductory comments to
each movement:I Movement:
The archetypal sequence
of broken chords within
C-major has established
itself as almost a
cultural code, allowing
the composer of 1996 to
tell his tale-in-tones
only by stressing and
colouring the tones in
the original piece
without changing the
pitches or (relative)
durations as a
'palimpsest' containing
as well the old as the
new musical tale
simultaneously. Later in
the movement, this
singleline is multiplied
by the, till then
discrete, but permanently
pervading, proportion -
throughout the piece -
very close to the 'Golden
Section'(= 3:5:8.t.i:8
before repetition, 5
before starting anew from
the deepest tone, 3 as
the rest etc. unchanged).
The 3 tonal levels as
well as the 3 relative
speeds are treated
according to these
proportions for certain
passages, but even in
those the main focal
point is directed at the
freely invented melody
(by me) incarnating
itself solely by the
unpermutad sequels of the
original prelude.II
Movement: One feature of
the F sharp-prelude
pervades all the six
minutes-long second
movement: A 4 times
identical rhythmic
pattern = 6:4:3:2:3:4:6 -
as an hourglass-shaped
timeshape - inspired me
by the closeness of this
pattern to a shape within
the infinity-drumming of
my invention, called
Wide-Fan and Narrow-Fan ,
referring to pattern
consisting of
8:4:2:1:2:4:8, the
familiarity with the
above - quoted one being
obvious. New and old
elaborations of this
pattern-pair permeates
the movement, especially
since the Safri-Duo by
their performance of my
Repercussion had
augmented my appetite for
including this idiom in a
wider context:III
Movement: Without the
existence of the
d-minor-prelude I doubt
that I would have dared
to write a work like
this, since it is the
inexhaustible, rare
quality and pecularity of
this piece, which has
stimulated my feeling of
wonder and 'modernity'
(or: eternity!) of this
piece, of which I know of
no equal in its special
respect: the perpetual
ambiguity of melodic
foothold in the rhythmic
ostinato of a broken
descending triad, co. $82.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Five Athabascan Dances [Conducteur] Chester
Harp; Percussion (Performance Score) SKU: HL.233157 For Harp and Percu...(+)
Harp; Percussion
(Performance Score)
SKU: HL.233157
For Harp and
Percussion. Composed
by John Luther Adams.
Music Sales America.
Classical. Score.
Composed 2017. Duration
960 seconds. Chester
Music #CH85965. Published
by Chester Music
(HL.233157).
9.25x12.0x0.13
inches. Includes
two copies of the
performance score These
pieces are inspired by
the music and spirit of
the Athabascan people of
Alaska's boreal forest.
The first and third
dances are based on songs
by Joe Beetus, a Koyukon
elder from the village of
Huslia. The second dance
is based on a short
traditional song of the
Dena'ing people of the
Kenai Peninsula, as
remembered by the late
Peter Kalifornsky and
transcribed by the late
Thomas F. Johnston. In
their original setting
these melodies would be
sung in unison, with no
harmony or counterpoint.
Working as a composer in
the Western tradition, I
have extended and
transformed them in many
ways. I have 'borrowed'
and 'set' these melodies
with permission and with
the hope that my
treatment of them conveys
my profound respect for
their origins. The second
and third pieces are
derived from my setting
of poems by Adeline Peter
Raboff written in the
dialect of her Gwich'in
people, who inhabit the
country from Arctic
Village to Old Crow. I
offer this music as a
gesture of respect to the
first peoples of the
Northern Interior and the
Kenai Peninsula. - John
Luther Adams. $11.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto For Flute And Orchestra Theodore Presser Co.
Orchestra Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, Flu...(+)
Orchestra Bassoon 1,
Bassoon 2, Celesta,
Clarinet 1, Clarinet 2,
Contrabass, Flute, Flute
1, Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Oboe 1, Oboe 2,
Percussion, Piccolo,
Timpani, Trombone 1,
Trombone 2, Trombone 3,
Trumpet 1, Trumpet 2,
Trumpet 3 and more.
SKU: PR.41641515L
Composed by Behzad
Ranjbaran. Premiered by
the Philadelphia
Orchestra, Yannick
Nezet-Seguin, Music
Director, Jeffrey Khaner,
flute; Verizon Hall,
Philadelphia.
Contemporary. Large
Score. With Standard
notation. Composed 2013.
Duration 28 minutes.
Theodore Presser Company
#416-41515L. Published by
Theodore Presser Company
(PR.41641515L). UPC:
680160621750. The
melancholic tone of the
Ney (the Persian bamboo
flute) is known for its
alluring sound, emulating
the human voice. In
Persian literature, the
Ney is considered a
mystic instrument capable
of expressing deep human
emotions. In writing my
flute concerto, I aimed
not only to highlight the
modern flautist's ability
to play agile and
brilliant passages but
also to emulate the
delicate sound of the
Ney, particularly in
extended solo flute
passages. Two prominent
characters permeate the
first movement of my
concerto. They are marked
in the score as
lamentoso, and con
spirito, expressing grief
and loss, and joy of
living respectively. The
lament is mostly
expressed in several
extended cadenzas for
solo flute while the con
spirito consists of
robust and energetic fast
sections played by all
forces of the orchestra.
Apart from these two
characters there are
moments of mystery,
comedy and the grotesque,
among others. In the
second movement, the
lyrical and poetic
character of the flute is
prominently presented in
dream-like passages
surrounded by shimmering
and tender orchestral
colors. The solo flute is
left out in an agitated
middle section that
references the first
movement. In the third
section of the movement
the solo flute returns in
meditative fashion
culminating in a duet
with the harp. The third
movement is written as
one continuous quasi
scherzo, challenging the
limits of agility and
brilliance of the flute.
Some of the materials
from the earlier
movements are presented
again with joyous
character. The coda
elevates the concerto
into its brightest and
most festive character,
driving to the end with
relentless energy. The
melancholic tone of the
Ney (the Persian bamboo
flute) is known for its
alluring sound, emulating
the human voice. Â In
Persian literature, the
Ney is considered a
mystic instrument capable
of expressing deep human
emotions.In writing my
flute concerto, I aimed
not only to highlight the
modern flautist’s
ability to play agile and
brilliant passages but
also to emulate the
delicate sound of the
Ney, particularly in
extended solo flute
passages.Two prominent
characters permeate the
first movement of my
concerto. Â They are
marked in the score as
lamentoso, and con
spirito, expressing grief
and loss, and joy of
living respectively.
 The lament is mostly
expressed in several
extended cadenzas for
solo flute while the con
spirito consists of
robust and energetic fast
sections played by all
forces of the orchestra.
 Apart from these two
characters there are
moments of mystery,
comedy and the grotesque,
among others.In the
second movement, the
lyrical and poetic
character of the flute is
prominently presented in
dream-like passages
surrounded by shimmering
and tender orchestral
colors. Â The solo
flute is left out in an
agitated middle section
that references the first
movement. Â In the
third section of the
movement the solo flute
returns in meditative
fashion culminating in a
duet with the harp.The
third movement is written
as one continuous quasi
scherzo, challenging the
limits of agility and
brilliance of the flute.
 Some of the materials
from the earlier
movements are presented
again with joyous
character. Â The coda
elevates the concerto
into its brightest and
most festive character,
driving to the end with
relentless energy. $160.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult SKU:
HL.49046544 For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544). ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches. I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| That Lives in Us Boosey and Hawkes
Choir, Percussion (SSA Choir) SKU: HL.48023453 CME In High Voice. ...(+)
Choir, Percussion (SSA
Choir) SKU:
HL.48023453 CME In
High Voice. Composed
by Daniel Brewbaker. In
High Voice. Concert,
Festival. Octavo. 20
pages. Boosey & Hawkes
#M051480166. Published by
Boosey & Hawkes
(HL.48023453). UPC:
888680049447. 6.75x10.5
inches. Offering
guidance through stages
of spiritual awakening
from respect for and
service to all, Daniel
Brewbaker captures the
inspiration of the Rumi
text in
“ecstatic”
and energetic music for
women's choir, piano and
percussion. $2.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Near Distance [Conducteur] Theodore Presser Co.
Chamber Music Bass Clarinet, Cello, Clarinet, Cymbal, Flute, Percussion, Piano, ...(+)
Chamber Music Bass
Clarinet, Cello,
Clarinet, Cymbal, Flute,
Percussion, Piano, Side
Drum, Tam-tam, Temple
Blocks, Tom-tom,
Triangle, Vibraphone,
Violin, Wood Block, alto
Flute SKU:
PR.11440744S Lost
In Thought About Ancient
Culture and Modern
Civilization.
Composed by Chen Yi. Full
score. With Standard
notation. 20 pages.
Duration 9 minutes.
Theodore Presser Company
#114-40744S. Published by
Theodore Presser Company
(PR.11440744S). UPC:
680160011490. 9.5 x 13
inches. The sextet
was written for flute
(doubling alto flute),
clarinet doubling bass
clarinet), violin, cello,
piano and percussion
(triangle, 3 temple
blocks, 2 wood blocks,
side drum, cymbal, 4
tom-toms, vibraphone,
small tam-tam, median
tam-tam and big tam-tam).
It presents the composer
lost in thought about
ancient culture and
modern civilization and
her thinking about the
parallels and contrasts
between the East and the
West. Near Distance takes
us through a journey that
covers thousands of miles
and thousands of years.
Contrasting moments of
dense, busy activity with
sparse, haunting lines
the composer bridges the
gap between the timeless
history of her homeland
and the ever-changing,
energetic life in the
modern society. The work
was originally written
under the request of
Prof. Jacob Druckman, for
a composition workshop at
the Aspen Music Festival.
It is dedicated to his
memory with admiration
and respect. Near
Distance has been
featured in Sound and
Silence, a series of ten
documentary films on
contemporary music, which
has been broadcast on the
European TV network since
1989, produced by the
ISCM, Adamov Films and
the Polish TV. It has
also been recorded on
CRI, released in 1999,
under the title Sparkle:
Chamber Music of Chen Yi.
[now available through
New World Records] --Chen
Yi Her piece...
generates a vivid and
wholly radiant color
scheme. Harmonically,
too, it seems to float
enchantingly, its
occasional ventures into
microtones gracefully
bending away from
traditional tonality.
Gorgeous music, this; one
longs to hear more.
--Alan Rich, LA Weekly
'Near Distance' evinced
some delicate, dramatic
sonorities in its fusion
of East Asian and Western
musical impulses. --John
von Rhein, Chicago
Tribune. $32.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Okuyama Ni Shawnee Press
Choral, Flute, Percussion (Studiotrax CD) SKU: HL.35028248 (In the Mou...(+)
Choral, Flute, Percussion
(Studiotrax CD) SKU:
HL.35028248 (In
the Mountains Deep)
Together We Sing
Series. Composed by
Ruth Morris Gray. Choral.
Concert, Contest,
Festival. CD only.
Published by Shawnee
Press (HL.35028248).
UPC: 884088635084. 5x5
inches. This
elegant 12th-century
Japanese text is set to
original music with
respect to the Japanese
sound and culture.
Ethereal and refined with
flute and percussion, the
singer sings of a
wandering stag, deep in
the mountains, stepping
through crimson leaves of
autumn. Available: 3-Part
Mixed; 2-Part; StudioTrax
CD. $26.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Projects Stainer and Bell
SKU: ST.B805 Composed by Patric Standford. Books & Study Scores. (KS3/GCS...(+)
SKU: ST.B805
Composed by Patric
Standford. Books & Study
Scores. (KS3/GCSE:A1/AL).
Book. Stainer & Bell Ltd.
#B805. Published by
Stainer & Bell Ltd.
(ST.B805). ISBN
9790220215292. List
ening, composing and
performing are the
foundation of
Projects, Patric
Standford's exciting
composition manual that
meets the varied demands
of 'A-level' and
undergraduate courses.
Former head of
Composition at Bretton
College of Higher
Education, respected
composer and tireless
advocate of new music,
Standford begins
unashamedly with melody.
Through a study of
historical examples,
students quickly learn to
write their own, then
master rhythm, harmony
and the construction of
canons before creating
original pieces for
melody instruments,
keyboard, and percussion
ensemble. With a wealth
of illustrations and full
of good sense,
Standford's practical
text ensures a constant
helping hand for the
young composer, showing
how music of the past and
present, carefully
observed, can unlock the
novice's imagination.
Beautifully produced,
Projects
combines a sound respect
for the fundamentals of
music-making with the one
element essential for its
success - enjoyment. $17.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Three Etudes Promethean Editions
Chamber Music solo marimba SKU: PO.PE092 Composed by Gareth Farr. This ed...(+)
Chamber Music solo
marimba SKU:
PO.PE092 Composed by
Gareth Farr. This
edition: softcover. Sws.
Performance Score.
Promethean Editions
#PE092. Published by
Promethean Editions
(PO.PE092). ISBN
9781877218972. Thre
e Etudes was composed
whilst Farr was still
performing regularly as a
marimba soloist.
Movements II and III were
written for fellow
percussionists Jeremy
Fitzsimons and Suzanne
Warner respectively, and
the first movement was
taken from Farr's title
theme music for the New
Zealand television series
Duggan. $23.75 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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